G.X. Jupitter-Larsen

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What Is My Work About? 

Much of my work is a self-created lexicon consisting mainly of personalized units of measurement. A casual observer’s literacy of this vernacular is optional. I employ all misunderstandings as a calibration. Comparing a reinterpretation to the original intent gives me a deeper awareness of my own thought process. By this means, there is no passive audience, only collaborators.

Artist Statement

Much of my work is a self-created lexicon consisting mainly of personalized units of measurement. A casual observer’s literacy of this vernacular is optional. I employ all misunderstandings as a calibration. Comparing a reinterpretation to the original intent gives me a deeper awareness of my own thought process. By this means, there is no passive audience, only collaborators.

All of my paintings & photography all share the same title: “Not The Totimorphous.”

Much of my visual work as of late has been an attempt to illustrate the zero dimension. What I call, The Totimorphous, as a sizeless shape. To depict this construct, I am inspired by the Middle Eastern tradition of depicting something by demonstrating what it is not.

If you could imagine doing of portrait of a your loved one by presenting pictures of everybody else’s loved ones instead. That’s the basic concept behind this tradition. It’s impractical, fantastical, life-affirming, and maybe just a bit silly. It’s pretty much everything I want out of art.

The more functional, utilitarian course from this approach is abstraction. If The Totimorphous is the combination of all possible shapes as a single form, the segmentation of its fragmented divisions offers an opportunity for instinctive image making, or more to the point, an emotional & philosophical chart or graph.

Entropy implies measurement. It’s because of entropy that time moves only in one direction. Thinking of the cityscape in terms of a ruler, the urban backdrop essentially becomes a straightedge. A population’s shared experience becomes the calibrated lines of measured distances. In other words, the personal occurrence as a subjective mathematical glimmer. Time-line as a ruler, or if you prefer, the ruler as time-line. Every step I take down the sidewalk is another increment along a readymade ruler.

For myself, if I were going to use Los Angeles as a ruler, its increments would have to start out with the first night I ever spent in LA. I had to sleep in the back of a car. When I awoke the next morning I was covered in broken auto glass. It was obvious someone had tried to break in during the night. It was also obvious I was a heavy sleeper.

The next measurement on this ruler would be the day I found 20,000 antique and vintage photographs in a dumpster. I lived off the sales of those photos for over a year. The final glyph would be the time I played a defendant on a day-time court room reality show. I won the case.

I could have included the time Dennis Hopper tried to run me over with his car, but that didn’t actually happen in Los Angeles. Still, it’s a pretty funny story.

 

CV

Solo Exhibitions:
1982, Art Space, Nishinomiya, Japan
Insulation1983, Replica IV, Philadelphia, U.S.A.
Color xerography

1983, Tokonoma Gallery, Pescara, Italy
Insulation

1984, Makkom, Amsterdam, The Netherlands
Insulation

1985-1986, The Changeable Gallery, Rome, Italy
Insulation

1986, Artcore Gallery, Berlin, West Germany
Drawings

1989, Urban Sensitivity, Birmingham, U.K.
Paintings, Sculptures, and a Sound Insulation

1994, The Living Room, San Francisco, U.S.A.
Paintings

1994, Anomalous, Los Angeles, U.S.A.
Paintings

2007, Argument, Tilburg, The Netherlands
Drawings, Rulers, Notebooks, and a Sound Insulation

 

Group Exhibition:

2012, In The Dark / LA MART, Los Angeles, U.S.A.
“Redshift Clock” assemblage (acrylic on wood & plastic with electric light)

 

Solo Screenings:

1985, May 28 & 29, C.A.T. Gallery, Toronto, Canada
“Blank Banner”

1992, Feb. 11, Media Foundation, San Francisco, U.S.A.
“Urban Sensitivity”, “These Things Happen”, and “Frequency”

1992, Oct. 22, Pacific Film Archive, Berkeley, U.S.A.
“Frequency”, and “Facts On The Polywave”

1992, Oct. 30, E.P.E., Paris, France
“Frequency”, “Counting The Sand”, and “Facts On The Polywave”

1992, Nov. 1, Kino, Lyon, France
“Facts On The Polywave”

1992, Nov. 21, Three Legs, Leeds, U.K.
“Facts On The Polywave”

1994, June 25, Anomalous, Los Angeles, U.S.A.
“Zero Plus Zero”, and “Frequency”

1994, Nov. 5, Anomalous, Los Angeles, U.S.A.
“Holes On The Neck”, and “Clici-Clic”

1995, Feb. 4, Hangar 18, San Francisco, U.S.A.
“Facts On The Polywave” and “Holes On The Neck”

1995, Mar. 25, Metropophobobia, Phoenix, U.S.A.
“Facts On The Polywave” and “Holes On The Neck”

1995, Nov. 11, Confluences, Paris, France
“Holes On The Neck”

1997, Feb. 26, California College of Arts and Crafts, Oakland, U.S.A.
“Holes On The Neck”

2002, Apr. 12, Cuba, Münster, Germany
“Holes On The Neck”

2002, Apr. 26, B-Movie, Hamburg, Germany
“Holes On The Neck”

2013, Apr. 11, Limerent Objects, Leeds, U.K.
“A Film By” and “A Noisy Delivery”

2013, May 19, De Werkplaats, Amersfoort, The Netherlands
“A Noisy Delivery”

2013, May 22, Conundrum Music Hall, Columbia SC, U.S.A.
“A Noisy Delivery”

2013, June 12, House of Caca, Austin TX, U.S.A.
“A Noisy Delivery”

2013, July 14, LimaZulu, London, U.K.
“A Noisy Delivery”

2013, Aug. 30, Eyedrum, Atlanta GA, U.S.A.
“A Noisy Delivery”

2013, Oct. 15, MATA Gallery, Los Angeles CA, U.S.A.
“A Noisy Delivery”

2014, Jan 4, Cult Club, Moscow, Russia
“A Noisy Delivery”

2014, April 19, The Highland House, Upland CA, U.S.A.
“A Noisy Delivery”

2014, Sept 13, Vrijplaats Middelstegracht, Leiden, The Netherlands
“A Noisy Delivery”

 

Group Screenings:

1982, Aug. 29 & 30, Pasadena Filmforum, Pasadena, U.S.A.
“Blank Banner”

1982, Dec. 4-19, VIDEO ROMA 82/83, Rome, Italy
“Blank Banner”

1983, May 1-20, Cineclubniagara, Bologna, Italy
“Blank Banner”

1984, Jan. 28-Feb. 5, Makkom, Amsterdam, The Netherlands
“Blank Banner”

1984, Mar. 17-Apr. 1, Bild-& Ljudverkstaden, Sodertalje, Denmark
“Blank Banner”

1984, Sept. 1-29, Livingroom Video Festpiel, Odder, Denmark
“Blank Banner”

1985, Feb. 28-Mar. 3, Stockholm Video Open, Stockholm, Sweden
“Blank Banner”

1985, Oct. 9 & 10, VIDEOGRAMMI, Massa Lombarda, Italy
“Blank Banner”

1986, Sept. 20 & 21, VIDEOGRAMMI 2, Massa Lombarda, Italy
“Blank Banner”

1986, Oct. 10-12, Østvendsyssel Festival, Hjallerup, Denmark
“Blank Banner”

1993, Jan. 27, E.P.E., Paris, France
“Frequency”, and “Facts On The Polywave”

1993, Apr. 30, 102, Paris, France
“Frequency”

1993, June-Oct., La Grande Arche, Paris, France
“Frequency”, and “Facts On The Polywave”

1994, Jan.-March, La Virreina, Barcelona, Spain
“Frequency”, and “Facts On The Polywave”

1994, June 1, ÉNS Création Industrielle, Paris, France
“Facts On The Polywave”

1995, June 9, The Continental, Buffalo, U.S.A.
“Zero Plus Zero” and “Holes On The Neck”

1998, May 28, BAVC, San Francisco, U.S.A.
“Change In The Weather”

1999, March 12, A.T.A., San Francisco, U.S.A.
“Haterella”

1999, Nov 21, Nihilist Film Festival, Los Angeles, U.S.A.
“Connotations Of Wreckage”

2000, April 19, Pacific Film Archive, Berkeley, U.S.A.
“Holes On The Neck”

2000, Dec 19, Nihilist Film Festival, Los Angeles, U.S.A.
“Change In The Weather”

2002, Sept 21, III Edizione Tohrror Film Festival, Torino, Italy
“Holes On The Neck”

2002, Dec 6, Nihilist Film Festival, Los Angeles, U.S.A.
“Paris, April 22 2002”

2003, Sept. 1-30, Meinebank, Berlin, Germany
“Connotations Of Wreckage” and “Holes On The Neck”

2012, July 7, Epicurean Escapism Festival, Berlin, Germany
“Holes On The Neck”

2013, May 25, Ende Tymes Festival, New York NY, U.S.A.
“A Noisy Delivery”

2013, Aug. 15, Centro Cultural Tamaulipas Cineteca, Cd. Victoria, Mexico
“A Noisy Delivery”

2013, Aug. 24, The Borg Ward, Milwaukee WI, U.S.A.
“A Noisy Delivery”

2014, April 18, Modified Arts, Phoenix AZ, U.S.A.
“Chemistry About The Polywave”

2014, June 29, Dreamland, Louisville KY, U.S.A.
“A Noisy Delivery”

 

Noted Publications:

2009, Saccages
Anthology of French translations of my artists statements with timelines of my work. Edited and Published by Le Groupe de La Riponne, Paris.

2010, Drilling A Hole Through The Sky
A compendium of my performance art. Edited by John Wiese. Published by Helicopter, Los Angeles.

2013, Empty Holes / Empty Homes
Anthology of my artists statements & cryptograms. Published by Blossoming Noise, Atlanta.

 

Selected Collaborations:

1992 – 2002, Contributing artist with Survival Research Laboratories, San Francisco.

1999, Worked closely with David Ireland, re-recording and re-mixing audio tapes from his 500 Capp Street project. A CD of three of our collaborations was later released on the Vinyl Communications label.

2002, Worked on the team that provided hardware & software support for Achim Wollscheid’s light installation on Frankfurt City Hall, Germany.

2010, Provided live soundtracks for Dirk Bell’s installations at both the BALTIC Centre for Contemporary Art in Gateshead, and at Sadie Coles HQ in London.

2012, Provided a live soundtrack to Heinz Cibulka’s “Digitalkompost” performance staged at the Hermann Nitsch Museum in Austria.